It’s a tough time of year for landscape photographers. We are eagerly waiting for Spring to arrive with its fresh new regrowth, blossom and slightly warmer weather, and we are so over Winter, but it’s just dragging on. The snow has gone slushy, the sky is a permanent grey slab of nothing. Should we just put our cameras away for another month? Not according to Mads Peter Iversen who has some great ideas to create magical images in even the most uninspiring time of year.
Photography is a form of art, and art was never meant to live solely inside a computer screen. Sure, your clients may be excited about getting that perfect profile-pic-worthy shot, but nothing truly brings a photograph to life like framed prints and canvases.
Having beautiful prints adorning their home’s walls benefits clients by serving as constant reminders of the joy they felt on the day of their shoot, but it can be equally as beneficial for the person behind the lens. Selling photo prints can lead to a huge leap in a photographer’s revenue while simultaneously showing off their skill and professionalism to potential future clients. Plus, photo prints serve as a daily reminder of you and your services, making your clients more likely to head your way for their future photo needs.
Running with a small crew can be a challenge but if you are coming well prepared, it could be an advantage. Being just one person, or running with a small team means that you can keep things light, move around and generally if you play your cards right, you can set up and teardown relatively fast. While having a big crew is nice, some jobs just call for smaller, light crews. Today, lets dive into the world of “one man” production.
Specifically in this video, I want to talk about creating cinematic interviews. A one-person team does not mean you need to give up on location, sound, or lighting. Most of it comes down to your approach and choices of gear. Hit the jump to see how I handle this.
I’m sure you’ll all be pleased to hear that it’ll be a short and sweet one this week ;) Nothing mind-bending or buried in lighting theory, just a simple 2 light setup with some colour! – (famous last words). The idea behind this look for me was to create a sci-fi style of light coming directly from above. Couple that with some contrasting colour from below and a little separation behind and I’m done.
In my mind I wanted it to be smokey or hazey like those spooky 80s sci-fi movies. So either a misty night or even smoke from spaceship exhaust – think, ‘Close encounters of the third kind’. This isn’t strictly super-relevant, but early ideas like this can help you immensely when it comes to lighting a subject if you know what you’re trying to achieve first.
Colour grading nighttime footage can be difficult. You’ve often got a lot of contrast to deal with, particularly when light sources appear in your shot and the camera often doesn’t see the muted nighttime colours (or the bright lights!) the same way we do with our eyes. While there are a lot of great in-depth tutorials out there for serious colour grading, sometimes you just need a “quick fix”.
How do you make $100,000 as a photographer? Start with $200,000! Sorry, jokes aside, it is technically possible. I mean, there are photographers out there earning 6 figures. And I’m sure that even if I was making that sort of money from photography I’m sure I’d still be writing for DIYP! But that aside, how do you even get close to making that sort of money from your passion? It’s something that most of us just dream about. But in this video, Evan Ranft explains not only how he did it, but lays out some very sensible advice that can at least get you on the right path to profiting from your photography, even if you’re not quite getting to 6 figures yet.
If you’ve read the National Geographic magazine at any time in the past 20 years then you’ve probably seen some of Steve Winter‘s images. Much of his photographic career has been shooting big cats in the wild. A quick browse through his website shows a multitude of iconic images and photojournalism stories featuring tigers, cheetahs, and my favourite that I remember when it was published, the snow leopard.
In this intriguing video, Steve was challenged by Wired to demonstrate his process, from shooting the images to culling them down to the ultimate iconic frame that perfectly encapsulates the story within one single shot. It’s something that we all have to do, but to see and hear the thought process behind it is absolutely fascinating.
What’s your go-to aperture that you always seem to gravitate towards? Go on, I bet you have one, even if you hesitate to admit it! For me, whether I’m shooting natural light or in a studio, I often seem to end up at f/2.8. For environmental portraits or groups, I’m often swapping between f/8 and f/11. but that’s just me, and honestly, although I’ve settled into shooting like this over the past few years, I’m not sure I’ve really taken a step back to really think about why I often end up shooting with these apertures.
In this video, portrait photographer Julia Trotti shows us what a portrait of the same model looks like shot with each aperture, from f/1.4 to f/16.
If you’ve upgraded your camera firmware and you’re not happy with it, you may want a real-life “Undo” button to bring everything back the way it was. There are two possible ways to downgrade your camera firmware to the previous version, and in this video, Kolbassia of KH CAMS will show you how to do it on your Canon.
I remember when I was studying photography that the most difficult assignment we were given was photographing shiny objects. I stupidly chose to photograph a pair of orchestral cymbals (ie. shiny all over with multiple angles). The next most difficult thing after that was probably the sunglasses. Those reflections are necessary, you don’t want to remove them altogether, but you do want them to enhance the product, not detract from it. And that’s just product photography! What happens when you’re using artificial light with a person wearing sunglasses? How do you avoid those cartoonish round white blobs?